Archive for November, 2008

Champagne and pseudonyms; Notorious review

I couldn’t be more proud of my readership for kicking into gear over the past couple days.  Speaking of readership, I forget if I’ve named you all.  Mr. Menick has his VCA, what should I have?  The Eaters? Suggestions would be appreciated in the comments section.

Continuing along my delayed Hitchcock kick, I was inspired to finally watch Notorious by my discussion with the aforementioned seasoned blogger about Hitchcock during some downtime at a certain debate tournament at which a certain less-seasoned blogger made a certain sum of money for judging a certain activity.  He brought up that Notorious certainly deserved to be mentioned in the same breath as Rear Window, Psycho and Strangers on a Train (were those the three?), and was probably above any breath that involved Vertigo and North by NorthwestRope, I think we agreed, was probably not even part of the same respiratory system (in a…good way?).  So that pushed me over the edge into seeing a movie I was already planning on seeing.

So that was an incredibly roundabout way of simply saying that Notorious, directed by Mr. Alfredonius Hitchcock himself and written by some guy named Ben Hecht, (Just kidding.  You can’t be considered just “some guy” when you write two movies like Notorioius and Gilda in the same year.) is the movie I’m reviewing this time.   The absolute first thing that jumps out at me about this movie is the unique and interesting way it uses three of the biggest actors of the time: Cary Grant, Ingrid Bergman and Claude Rains.  Well, that’s more fair to say of the first two than of Rains – we’ve established even within the humble confines of this blog that Mr. Rains was a chameleon; a god among character actors, who manages to make all of his roles complicated and interesting.

But enough hero worship of Claude; we’ll discuss him more specifically to this movie later, along with the other biggies.

Notorious is the story of Alicia Huberman (Bergman), the daughter of a German-American convicted of war crimes committed during World War II who is asked by the United States Federal Government to work undercover in Brazil trying to catch some of her father’s associates doing…bad things.  Her liaison, TR Devlin (Grant), whom she meets at a party she threw to drink until she can’t feel anymore in reaction to her father’s conviction, is the one who introduces her to the mission.  She accepts after being reminded how much she loves America (and thus hates Nazis), deciding to abandon a family friend who wanted to take her on a boat cruise of the world, I think.  While in Rio (by the sea-o) de Janeiro, awaiting assignment and generally just hanging out, guess what the pair do? Give up? They fall in love.

But when they get the assignment, they find that Alicia has to woo an old acquaintance who is all kinds of creepily in love with her in order to get information.  He’s Alex Sebastien, played by Claude Rains, and he’s a former Nazi socialite.  It would be pretty stupid to do plot summary from that point forward, for a number of reasons.

As far as Grant goes in this movie, it’s not the only time he was in a Hitchcock movie (I count three: this, To Catch a Thief, and North by Northwest), and though I haven’t seen To Catch a Thief, I know that in North by Northwest, Grant also has moments where he (Devlin) vilifies his love interest for being unfaithful to him while in the line of duty.  But here, what’s interesting is he never even gets attached to Alicia (Bergman) to begin with.  He doesn’t trust her because of her history, even though he falls for her, and his exchange with Alicia about her seduction of Sebastien is less about feeling hurt and betrayed, and more about taking sick satisfaction in twisting the knife over Alicia’s guilt about her mission.  The racetrack scene is just fascinating, and what happens immediately after is positively Hithcockian (duh).  But that’s too spoilable to talk about, regrettably.  You’ll just have to be satisfied with me telling you it rules.

Bergman’s Alicia character is an incredibly compelling one, and for my money it blows her performance in Casablanca out of the water because Alicia actually has depth – emotions that go beyond “I’m conflicted.”  This is an incredibly well-developed and fully-realized character, and I was so impressed by her subtlety of expression.

Claude Rains, though, is the absolute top dog here.  You’re introduced to him as Alex Sebastien, a former Nazi before he ever steps on screen, so my feelings towards his every action were that everything was coated with this sinister, invisible layer.  But the more I watched Alex around Alicia (which is 90% of his screen time), the more I came to realize that his feelings for her were sincere, despite his evildoings.  In reflection, I feel that Rains lent such depth to his character that I could analyze it til the cows came home, and still be interested.

So this review has kind of turned into boot-licking, and I’m going to cut it off there.  Just know that the strength of this movie is in the lead performances, possibly more than any other Hitchcock film.

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Death Cab For Cutie – Narrow Stairs

Death Cab For Cutie - Narrow StairsI think the first time I heard Death Cab For Cutie was in the OC. That show was pretty good for a while, and there was that season where one of them worked in a bar so that they could have bands playing in the background. Looking back on it, it seems like kind of a blatant way to emphasize their role as a tastemaker, but blatantness aside, I guess I’m thankful for the introduction. Death Cab isn’t really a mainstay for me, but they are consistently enjoyable. Narrow Stairs keeps that up.

(I tried to find a youtube video of them playing The OC to link to, but all I could find was a german dub. It’s pretty surreal. Enjoy.)

The first single for this album is called “I will possess your heart.” It has maybe 4 minutes of build up before Ben Gibbard starts singing, which some might find excessive, but I think is worth being patient for. When the song kicks in proper, it doesn’t feel unnecessary. I don’t know what it does exactly, but I like it. It makes the song seem more important, even though without the long opening it would be just another pretty good song on the album. Okay, maybe it’s unnecessary.

“Cath…” is the next single (why am I focusing on the singles?) and it’s pretty pretty, if a little beentheredonethat. It’s a song with a story to tell about a gal named Cath who’s having second thoughts at the altar. I really like this lyric:

As the flashbulbs burst
She holds a smile
Like someone would hold
A crying child

Awww, right?

“No Sunlight” was an early favorite for me, what with its general bounciness and specific sense of being an actual rock and roll song from Death Cab For Cutie, which is weird, but pretty rad.

But now I have a new favorite.

Absolutely essential to comment on is the song “Grapevine Fires.” For me it’s the clear standout of the album, and worth buying just for it. The first comment on that youtube video is “Ok, now THIS is music!” I was going to say something about the song, but I guess that’ll do. No, that would be lazy, here you go: it’s so gorgeous, and gets the fuck away with the lyric “There I knew it would be alright. That everything would be alright.” I’m dying to hear a playlist of songs that contain that lyric and variants on it. They’re fucking endless, and the more you notice them the more trite it gets, but here Gibbard and co. totally sell it.

The rest of the album kind of blends together into something very pleasant but sort of bland. Sometimes that’s what you need to listen to. That’s a niche isn’t it? The production is really great. That Chris Walla fellow deserves credit beyond having a really cool name. The way the guitars sort of burble on “Your New Twin Sized Bed” is pretty and hypnotic. The opening shimmer of “Bixby Canyon Bridge,” the album’s opener, gives way to to a jarring ratatat of loud fuzzy notes which build to a great height, all the instruments coming together with the common goal of rocking out. I guess it’s just on songs like “Talking Bird” and “The Ice Is Getting Thinner”, these ballads with these slow, long notes without a lot of melody that lose me. They sound great, but the fidgety thirteen year old in me needs some kind of payoff for sitting through them.

How do you end a review again?

Max Jacobson

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Speaking of bullshit; Jaylib review

So remember what I said about no more music this year? Yeah, that wasn’t true.  What I actually meant (hey! I’m serious!) was that I’m not going to review any more current music until the year-end list is done.  What is making that harder is my curiosity.  I’m having a hard time with sticking to review.

Last night I went on a downloading binge (legal, if anyone asks, I guess), focusing on Madlib and J Dilla, two hip hop producers that got hot around the mid- to late-90’s, and started making their own music in the early 2000’s for the most part.  Their production is really interesting and a joy to discover, but they collaborated once before J Dilla died of a rare blood disease in 2006.  That collaboritive team was called Jaylib (get it?) and they released one album in 2003, titled Champion Sound, bred from each of them rapping over each other’s beats.  That album has become my favorite hip hop album of all time in the space of hearing it twice over the past two days.

When it comes to hip hop, I guess I cheat a little bit when it comes to how I approach listening to the music.  Because my primary interest in music is rock and things resembling it, I tend to take a step back when listening to something and try to take in as much as possible.  Most of my “effort” with listening comes from trying to absorb the piece as a whole (probably the reason why I like complicated music like Animal Collective, but have a harder time with noise and stuff).  As a result, I have to really concentrate hard to listen to the lyrics of something unless they’re really prominent.  Which means that when I listen to hip hop, I get more preoccupied with production than most.  That’s why I love Spank Rock so much – it’s so interestingly put together.  And that’s why I love J Dilla and Madlib so much.

Which is why Jaylib is mindblowingly good to me.  Now, reviewing hip hop is almost as much of a challenge for me as reviewing things like dubstep – it makes me insecure not being tapped into the greater culture, because I fear having some guy who’s like, “I know hip hop, and you’re a stupid asshole.” I know that would probably never happen, but then again, that’s why it’s an insecurity.  But the way I see it, having a visionary producer rapping means that that rap has a finely tuned ear for how to flow with the production.  As I noticed (and as was pointed out to me by some other reviews I read), the lyrics here aren’t all that deep or all that interesting – they’re fun, but pretty shallow, not dumb, but not at all contemplative or declarative either (except as far as declarations of Jaylib’s prowess or simply, their new existence).  But their production.  Oh, their production.

It’s not exactly like nothing I’ve ever heard (it seems to take influence from instrumental hip hop producers, most notably [and most famous] DJ Shadow), it’s put together so interestingly that it’s this whole new animal when combined with the vocals.  It’s just, music.  It’s hip hop by every defining definition, but if you’re someone who’s heard too much absolute shit blasted at you by top-40 stations and mixtape rappers who have great rhymes but couldn’t care less what it’s over, it doesn’t sound like hip hop.  It sounds like something too fully formed.

The whole album has this laid back, but still energized vibe to it that’s really engaging for me, and it’s really conducive to full-album listening.  When your production is good enough, your only worry is overloading the listeners, and they do a great job of not doing much.  But their first proper track, after cool intro “L.A. to Detroit” (each of their hometowns), is “McNasty Filth” (cool name, right?), and it blew me away entirely.  They loaded so much into it and it’s not fast-paced, but extraordinarily high-energy.  It’s definitely a statement track – the duo saying that they are a force to be reckoned with.

Some other highlights are “The Heist” and “The Mission,” back to back, and for the same reason – their ability to keep downtempo hip hop interesting and fresh is absolutely astounding to me.  But really, after “McNasty Filth”, Champion Sound tends to maintain about the same level of laid-back awesomeness.  And that’s good enough for me.  Honestly, this is the best thing I’ve heard all year, and I’m seriously considering putting it in my all-time top 20, but I feel like it would kind of decrease the stature of the list if something could break into it after two days.  I’ll wait a while with it.

Thanks for the feedback on the changes, guys.  And keep those comments coming, it’s nice to know I’m still relevant in some way or another.

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A note on changes; two notes on…not changes?

The glorious Max Jacobson alerted me to the fact that my moping and blaming about readership was a lot of self pity over bullshit that isn’t the fault of the people who are actually reading me complain.  Of course, he didn’t say that, because he is nice and awesome, I just gleaned it from his actual, practical advice.  He just told me that I could make a couple tweaks that would prevent people who randomly happened upon this blog from running away and never coming back.  I changed the look to something less, how do you say, lazy and actually kind of weird.  I cleaned up the sidebar.  That’s pretty much it for now.

Oh, and my favorite news.  I Ate My DVD Collection is now officially at http://iatemydvdcollection.com.  That’s awesome, though it costs money, but I have a pretty good job, so I can take the $13 hit.  Whatever.  The old link works too, but now people who remember the name of my blog can look that up and find something that makes sense.

Of course, if Max and/or anyone else has more ideas for something to add to make the site more tolerable, by all means, leave a comment (for once, you assholes)(just kidding, I love you guys deeply).  And “more posts” doesn’t count – if you want more content, write it yourself, remember?

Also, two more observations:

1) I’ve seen a few things on Pitchfork (yes, I read it, fuck you) lately that have signaled to me that it’s time to start thinking about my year-end list of music.  That’s terrifying, especially because I’ve accumulated more current music in the year of 2008 than in any other year of my life by far (48 albums, by my iTunes count – and probably 40 of which I think about positively in some way) in time to put them in a list like this.  I have to get started on it now, or else I will feel like I cheated myself.  You’ll get no more music reviews out of me until my list, because I don’t want to spend all those thoughts and then have to say something new about the album on my list (even if it’s just a sentence’s worth).  As a result, this list will probably be pretty painstaking and masturbatory, so deal with that in advance.  Also as a result, it will probably be far too long for anyone with anything to do in their life to read in one sitting, so be prepared for that as well.  It will probably be a top-20.

2) I just got “musical genitalia” as one of my Top Searches.  That is teeeeerifying.  Whoever you are, I hope you enjoyed the review, and I hope equally as much that it is not what you were expecting.

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Double digits, maybe?; Zack and Miri Make A Porno review

All I’m gonna say is that it’s sad to look at my blog stats and see that I have 6 consistent readers.  You 6 are awesome people who I love dearly.  The rest of the world can go suck it.  I wouldn’t mind having the word spread though, if only for my own ego-stroking.

All right, that’s enough of that.  Zack and Miri Make A Porno is exactly what a Kevin Smith movie should be – and it’s probably just as much of a central thesis to Kevin Smith movies as Chasing Amy.  If you’re not a Kevin Smith fan by now, this review will not be for you, but by all means, read on.

I only saw Chasing Amy a couple of months ago, and it lived up to the hype of being the central Kevin Smith movie in that it had a really well-constructed plot, well-written characters, incredibly obscene dialogue, and Jay and Silent Bob, as well as a not-completely-absurdly-but-still-pretty-happy ending.  Throw in a love story, and there’s your Kevin Smith movie.  Now, of course, every Kevin Smith movie doesn’t have all of these – in fact, none but Chasing Amy do, even Zack and Miri – but they all have all of the first three, and one or two of the latter three.

But if Chasing Amy is your paint-by-numbers Kevin Smith thesis movie, then Zack and Miri is your big-picture companion.  There’s just this feel that you get with this movie, with the absolute great chemistry of characters and just the joy that comes from the eye of the camera at spending time in the world and spending time with the people.  One of the central motifs of all of the small-scale Kevin Smith movies (read: not Dogma or Jay And Silent Bob Strike Back) is that none of the central characters are bad people, or even unpleasant (all right, unpleasant in a bad way).  Life’s not all roses and lollipops, of course, but any dick isn’t given more than one scene to stink up.  All the drama in these movies (especially Zack and Miri) is between good-natured people who may have a kink that doesn’t mesh with others or just may be human – and that’s the source of drama.  That’s what’s so relatable and great about Kevin Smith movies.

Here, the two main good people are Zack and Miri, lifelong best friends in a less homoerawkwardly way than Jay and Silent Bob, who are absent from this movie, to some’s delight and some’s regret (I fall in between, and I’ll explain later on).  There’s definite sexual tension between them, but it often gets defused pretty quickly, just because they’re such good friends, and most of the time, it’s pushed on them by others.  Because they’re completely broke (and thus desperate) and they run into a gay couple, one of whom is Miri’s high school crush, which is why they meet, and one of whom is a porn star, played INCREDIBLY by the INCREDIBLE Justin Long (and thus inspired), they decide to make a pornographical moving picture, with a nice loan by the inimitable Craig Robinson, who plays Zack’s friend and coworker.

I don’t really like the story idea on the whole, but Kevin Smith is so damn talented as a writer that the central story comes about organically.  That’s what impressed me the most.  What also impressed me is, well, everything.  To be honest, though I was really excited about this movie, I wasn’t expecting lofty things because I didn’t like the idea of the story – I just felt it was an excuse for more Kevin Smith sex jokes, brilliant as they are – and because I kind of feel awkward at how pervasive Judd Apatow’s influence has gotten over the comedy landscape.  It just feels like if a comedy is in any way publicized or popular over the last couple of years, it has some Apatow in it.  And the farther away from actually being an Apatow picture it is, the worse it is, because they all try.  The ones that try independently, fail.  And I originally felt that Kevin Smith’s switch from his time-honored favorites to an Apatow roster was a little like selling out – that Smith saw the landscape, and was afraid of his inability to keep up, so he just ditched his stalwarts (for whom Smith’s movies seem to be their only roles) and made his play.

And while I still feel that way generally about Apatow, though I’m as huge a fan of his (actual) movies as anyone, Smith saved himself from falling into that pattern by writing a) Elizabeth Banks better than anyone has before, and turning her into not just a humongous new crush for everyone who feels like they missed their chance with Joey Lauren Adams, but a comedienne to be feared, b) a Craig Robinson character with some actual depth, so he is now guaranteed to have a real, hopefully incredible and long, acting career, and c) a romantic comedy that everyone can get behind.  Seeing this movie as a couple is a treat – thankfully I have that opportunity – because whereas movies like Love Actually (which is really the ceiling for the category I’m lumping right now) are great, there are always moments that make the girlfriend fawn and the boyfriend roll his eyes, and that could get awkward, Zack and Miri has absolutely zero of these moments, and the scenes that would normally have them are totally honest.  And that above all is the strength of these movies.

I don’t think I’m alone in saying that I got a little scared after Clerks II, even though it was hilarious, because it seemed like his only options as a filmmaker were making okay romance films like Jersey Girl that no one could love, but some could definitely hate because it was so rude to all of the fans that loved his comedic writing, or movies entirely rooted in his View Askewniverse that were about the same people, and he would make those movies until they were set in some New Jersey retirement home.  I though that that could happen, and while the movies would be good, they would get depressing fast.  Zack and Miri Make a Porno is probably better for me and Kevin Smith fans than it probably is in a vacuum because it gives Kevin Smith a real future as a filmmaker, a film that tells people he can make whatever movie he wants and pull it off too.  And thank God for that.

I know I didn’t comment on anything like the great performances by the leads and the music or anything like that like I normally do, but you can go anywhere else for that.  And besides, I can’t think about those things when I think about this movie; they get washed out by my above thoughts.  And if you really want all that stuff, just go here or here or here.

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A Creative Writing post, Thank God

I had almost forgotten that this is part of my stated objective of the blog.  These are the last two things I’ve written; tell me what you think, please.  Even if they make you want to puke your guts out.  Be advised that the story is a long one.  That’s why the poem comes first.

A DISTANT, CRASHING SOUND

A distant, crashing sound
is what your heart hears
through the pipeline inside you
when your brain hears my voice
from across Chicago, canned
and processed like bad fruit.
Your heart wonders
what all the fuss is about,
because you just think you’re hurt.
Your heart forgot me in May,
when the days are coated
in a humid foam that I waded through
to get to your window
where my brain made

A distant, crashing sound
that my heart only heard
just last night.
Tissues in the wastebasket,
shouldn’t that prove I care?
But I won’t lie, telling you
that it wasn’t hard to go,
since my brain was walling me off
while my heart was catching up.
Our long car silences
must have clued you in.
Last week especially,
when the CD scratched,
and through the silence,
all we heard was

A distant, crashing sound
and we looked at each other
quickly.
After I pulled over
to let the ambulance by,
you kissed me abruptly
and when all I did
was look at you funny,
we both heard again
a distant, crashing sound.

HOW TO ASSEMBLE A DOOMSDAY DEVICE

Am I just trying to be loved?
That’s the second-to-last thought that runs through the mind of an ideal supervillain just before he (or she, potentially) detonates his doomsday device.  The last thought is, of course, No, I’m doing it because – and insert your own personal motivation there (good examples are: to show them all, to prove that I’m the most evil, to bring everyone down to the same level, to destroy the world, etc., but use your imagination!).
The road to true supervillainy is not for the faint or kind of heart.  It is a series of tough tests of ruthlessness, single-mindedness, and savvy public relations (after all, if no one pays attention to you, what does blowing up the earth really accomplish?).  And, of course, if you’ve really hit it big, it requires the defeat of at least one superhero, possibly even a whole team.  And it takes more than those three to really become a star of the world of supervillainy – unparalleled brilliance needs to come into play, because let’s be honest, if you already had super-strength, you’d be fighting for the other side so you had more excuses to beat up on people without being brought up on charges.
We here at the J. Robert Oppenheimer Evil Genius Fellowship Association appreciate all of this, which is the reason we are the place those of the evildoing persuasion come to us when they need funding for their death rays, teleporters, weather control devices, and what have you.  You and we know that villains don’t have a mythical gold card with which to obtain inexplicably huge amounts of funding for ambitious projects.  It must come from somewhere, and we want it to come from us.

—————————
Remember when you are first assembling your doomsday device that every part is important.  Falling asleep in your lab when you should be welding is no excuse when a bolt pops loose, disablign the rotator mechanism or the cooling unit or what have you.  All that will get you is a timer stopped at 0:03 and a gloved fist to the face.  Supervillainy is a game of inches, like baseball.  Or jai alai.
The second thing to remember about doomsday device assembly is comprehensive setup.  While that may sound like unnecessary business jargon, the explanation is easy enough: if it is easy to remember how you’ve put your doomsday device together, then it is easy to fix problems and it is easy to dismantle if you’ve had a change of heart.  The only thing worse than being thwarted from destroying the world is accidentally destroying the world when you no longer want to.  And remember, the emergency shutoff wires must be a combination of red, blue, green and yellow wires (in keeping with the Oppenheimer Association by-laws).  Which wire is the correct wire is up to you, so use your imagination.  Don’t be afraid to pick the yellow wire – no hero will ever guess the yellow wire, you have our guarantee.
Thirdly, always make sure that your doomsday device has a timer.  A remote detonator, while providing more instant gratification, allows two different contingencies to happen more easily: one, the theft of the detonator.  Unless you plan on keeping this detonator in an invincible safe until the absolute split-second you plan on using it, there is always the chance of theft by a hero that may have super-speed or that may be able to phase through walls.  We here at the Oppenheimer Association know that the supervillain’s problems are varied, and we simply wish to simplify, always simplify.  The second contingency is that of cold feet.  Though we respect a well-thought decision to not destroy the earth, we also believe that most instances of the villain failing to detonate his/her own doomsday device are due to mere garden-variety nervousness or temporary moral pangs.  These should not be tolerated as they are reflective of a level of commitment below the standards of the Oppenheimer Association.
And that brings us to the most important point we will have in this manual, the point that we introduced at the very beginning – you must always know what you are fighting for.  A crisis of motivation has made many a great supervillain come crashing down on himself in the moment of truth.  Because, when you are looking at the soon-to-be-destroyed earth in the rear-view mirror of your private space shuttle powered by ketchup (or mustard, depending on the type of fuel-injection system you use), the only thing that will make you turn back (provided you have disabled the world’s space defenses, but come now, J. Robert Oppenheimer could do that from his grave, rest his soul) is you.  Without commitment, then all of this is moot.  Just ask Iratastrophe (see Appendix for details).
We do regret that this is the end of this instructional paper, but it is our firm belief at the J. Robert Oppenheimer Evil Genius Fellowship Association that each supervillain and/or evil genius should be as creative and self-motivated as possible.  After all, if we showed everyone how to be a supervillain, then how would anyone be different? If you’re still unsure of certain aspects of your prospective life of supervillainy, though, please be on the lookout for other installments in this series of instructional papers, such as “How to Hold Someone Hostage/For Ransom,” “How to Hold Multiple People Hostage/For Ransom,” “How to Introduce Yourself to the International Community,” “How to Reduce a Superhero to a Blubbering Ninny,” and of course, “How to Apply for An Oppenheimer Fellowship.”
Good luck with any of your endeavors, and as Dr. Oppenheimer would say, “You break it, you buy it.”

APPENDIX

World Saved, Iratastrophe Behind Bars After Confrontation With CapyBaron

NEW YORK, NY – After coming within minutes of total destruction, humanity can take a deep breath and go on with its daily life, thanks to the heroics of  the CapyBaron in defeating supervillain Iratastrophe.
The so-called “Long, Rodent-like Tooth of the Law” was able to disable Iratastrophe’s thermonuclear device before it could be sent to the core of the earth via a super-submarine that would have entered through the Puerto Rican trench in the Atlantic Ocean.  The device is reported to have been carrying roughly 300 times the amount of nuclear payload of the “Fat Man” atomic bomb that was detonated over Nagasaki.
“It’s all part of the job,” smiled the CapyBaron as he humbly accepted a cash reward of $100,000 from the President of the United States.  “I’m sure anyone as powerful and righteous as I would have done the same thing in my position.”
Although Iratastrophe was not available for his normal lengthy pre-imprisonment press conference, he was heard to yell, “I never should have listened to you, Claire!” at a woman behind the cadre of reporters and police officers who appeared to be weeping behind a pair of pink sunglasses.
When asked to describe the scene at Iratastrophe’s lab during their final confrontation, the CapyBaron explained: “I had just burst through the door of his inner sactum, where he was arguing with some broad – I beg your pardon, woman – and after sneaking aboard his submarine, I heard both of them begin to cry.  Really, they were just crying like babies.  That bought me enough time to chew through the correct wire with my super rodent teeth and save the world.”
When asked which wire was the correct one, he smiled broadly and laughed, “Blue, always blue.”
Iratastrophe, whose real name is Ira Gould, was escorted from his laboratory, which was located on the top floor of the apartment building in which his mother lived on Pinehurst Avenue in the Upper West Side, by local police appearing to have received a severe beating and showing multiple bite marks, is awaiting trial, but is expected to plead guilty on two counts of nefarious conspiracy and eight counts of attempted genocide in exchange for a life sentence as opposed to capital punishment.
The CapyBaron has requested to inform readers that anyone wishing to make a donation of thanks can send checks or money orders to: Schwartz, Goldstein, Hertz and Schwartz, Esq., 1120 W 46 St, New York, NY 10003.

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Musical Genitalia; Eagles of Death Metal review

So I saw a brilliant performance tonight.  Dan Katz and Raghav Goyal, formerly named the Aristokatz, but forced to switch to the Aristogoyals because of Disney copyright issues, they are the new Disney music cover band on campus here at Oberlin.  Tonight was their debut concert, and I have to tell you, it was genius.  It was probably the worst official performance I’ve ever heard musically, but it was bad like Neil Hamburger is bad at comedy (only actually funny).  I couldn’t really explain it except that it was like musical dadaism, only gleefully lighthearted.  For whatever reason, it was pure comedy genius to me.  I mean, everyone at the Cat in the Cream (for the non-Obie readers, the campus coffeehouse) was laughing and enjoying the hell out of it for at least a half hour, but I was still dying by the end of the show’s hour, and I couldn’t wipe a smile off my face for a good hour after that.  If they hone their craft either way (towards the musical end or towards the comedy end), they really could be something special, and I’m totally serious about that.  Much love.

And of course, they’re both on the Oberlin Horsecows Ultimate Frisbee Team Organization, Esq.

Now, I know that i said I was going to do a rap roundup for my next review, but then the Eagles of Death Metal released a record, and that’s a drop-everything moment for me.  I haven’t given their first album, Peace Love Death Metal, much of a listen, but their sophomore effort, 2006’s Death By Sexy, is one of my absolute favorites.  It rocks so hard, and is so much fun.  When trying to describe their visceral appeal to others, I often fall back on the expression, “It’s like music with a giant cock.  Like, huge.”  And I think that’s fairly accurate.  You can feel the machismo ooze out of their music.  Frontman Jesse “The Devil” Hughes is cocky with a capital Cock, and he’s famed(ish) for his outlandish attitude with fans at shows, and his mustache, which is a lady tickler of the highest degree.  This guy still lives the life, as it’s obvious.

I first got into EoDM when Morgan showed me them saying they reminded her of Queens of the Stone Age, a band I had shown her.  It turned out she was unwittingly prophetic – Josh Homme, lead singer of Queens of the Stone Age, is the drummer for EoDM and the secondary creative force.  Since then, it’s been a constant love affair between the band and me – whenever I want some hard-ass rock that is more contemporary than Led Zep and things of that nature, EoDM is almost always the first place I turn.

Heart On, EoDM’s third album, is less super-kinetic than their first two, and as a result is a step behind as far as pure fun, but this is easily their most musically well-developed album.  This band is no longer my version of Top 40 (meaning music that I can listen to just because it’s fun but lacks any real depth).  Now they’re just a damn good band.

Eagles of Death Metal is by no stretch of the imagination a death metal band; it’s not really a joke name, just really a “you had to be there story”.  Whatever.  There are worse band names out there. (I’m looking at you, Portugal. The Man.) They’re a blues/roots rock band to their core, with the hard-charging guitars and their fairly constant set of chords that just beeeeg to be air-guitar’d.  Jesse Hughes adds that final bluesy piece – even though it’s bluesy, not blues, since, you know, he’s white and sounds white.  There’s no grit to his voice, just a lot of confidence and just as much strong falsetto.  Hughes used to spontaneously break into an “Elvis From Hell” impersonation mid-song (see “Chase the Devil” off of Death By Sexy), but that’s left behind on this album, sadly.

As far as musicianship goes, it’s rare you see a rock band this in sync with such a high level of play all-around.  Both guitar parts, bass and drums are all on fucking fire throughout the whole record.  In a way, it reminds me of Led Zeppelin or Cream – yeah, more like Cream, actually – because no part of the band ever really chills out.  Sure, one instrument will have the most attention drawn to it at a point, but multiple listens reveal that every part is still playing its ass off.  Really great stuff.  I especially noticed it in the last song, “I’m Your Torpedo.”

That song title brings me to another point that I didn’t mention back when I was talking about the band’s masculinity.  A lot of this music’s power along that vein is in its bare sexuality.  This is “I’m-a sex you up” music, only not in a romantic way – in a fantastically egocentric way.  The courtship is all about the grandstanding, not about the end result.  Pure, brash masculinity.

If you consider that the ideal of the band, then “(I Used to Couldn’t Dance) Tight Pants” would probably be your favorite track.  The guitar work is ultra-sexy here, and really, there’s not much more to say about it than that it rocks out ultra-hard.  It’s really ditto for the rest of the album, so I’m going to spare readers more song-by-song analysis at the risk of getting even more repetitive.  I’m actually surprised this album is so consistent; even Death By Sexy had one amazingly horribly annoying song (“The Ballad of Queen Bee and Baby Duck”), and Heart On doesn’t have it.  This is a surprisingly unified album, and works fantastically as a continuous listen.  I now know at least one album that’s getting played in the car rides home for Bump and Thanksgiving.

I’m going to see Zack and Miri Make a Porno tomorrow, so expect a review of that up pretty soon.

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The rare combo review: W. and Choke

Actually, that title was a lie.  I really really want to review Choke because it’s so damn interesting, and even though I really did like W., there’s really almost nothing I can add to the already-present conversation about it, so just read this review that I agree with completely, then come back here for my own extra two cents.  I’ll wait.

Okay.

First off, the performance of Thandie Newton as Condi is the only real weak spot as far as acting goes.  It realizes the fears that every movie fan had of the whole movie in that it delves into caricature and becomes largely unwatchable.  And, as Harry Knowles of the very same Aint-it-Cool-News to which I linked you pointed out, that’s kind of how she already is, which means that those who like Condi may not mind Newton’s performance.  But I don’t buy that 100%.  Also, SPOILER the final dream confrontation between the two Bush presidents is really cool on the W. side of things (that should go without saying, since Josh Brolin rocks every scene), but I think Cromwell as H.W. in the scene plays it a bit too smugly and makes it a comedic scene when it really shouldn’t be. END SPOILER And I think everyone should see this movie if they like politics even one little bit.  It’s a really self-affirming movie for those of us who do.

Okay, now let’s get to the real meat.  Choke is a book by Chuck Palahniuk of Fight Club fame, and from what I’ve heard by Chuck fans, it’s not one of his best.  Still, there seems to be something about his works that makes adapters drool.  David Fincher did an unbelievable job with Fight Club, of course: I don’t think there’s ever been a movie that’s had the clichéd “incendiary” title slapped on it as much as that one, and it deserved it all to boot.  But those who are expecting Choke to be for sex what Fight Club is for terrorism are in for a rude shock.  It’s really a character study of Victor Mancini, played by the awesome Sam Rockwell.

Hi, his name is Victor, and he’s a recovering (kind of) sex addict.  He takes absolute joy in being a degenerate who flouts the rules of the pre-American Revolution historical site at which he works as a reenactor/peasant and makes extra cash by choking at restaurants and asking the people who save him for money by mail.  This is his life – being a half-assed colonial American, choking for money, and having lots of meaningless sex with random people.  Oh, and visiting his mother who has severe early-onset Alzheimer’s so bad that she doesn’t even know who he is.

Victor’s a complicated guy, which is made harder by the fact that he’s a total asshole, and revels in it.  The ongoing conflict for the viewer is whether or not to root for Victor.  His undying attachment to her is totally selfless at first glance – she thinks that her son never visits and turns the whole hospital against him, despite his devotion – it turns out that his repeated death wishes on her aren’t just latent resentment; he actually wants her to die, just only after she discloses his father’s identity.  And that search takes such a ludicrous twist that I won’t even go into it at all.

The other thing that happens at the upscale hospital where Victor’s mother (played incredibly by Anjelica Huston) is staying is that Victor meets Paige Mitchell, a new doctor taking care of his mother.  Where their relationship goes is purely fascinating to me, but other people I talked to were not as impressed.

This movie was adapted and directed by Clark Gregg, who also plays Victor’s boss (and kick-starter of most of the funniest scenes in the movie) and played Agent Coulson of SHIELD in Iron Man over the summer, for those who want a better mental image.  I really like the direction – the flashbacks are all necessary and don’t feel cheap, which lots of flashbacks do when they’re pulled off wrong.  I’m pretty sure this is Gregg’s first effort in both writing and directing, so kudos for him and I hope to see more work.

I think the strength of the screenplay is that all of the major characters are dynamic – their personalities, or at least how the audience views them, change over the course of the movie, so that the audience doesn’t feel like they’re a step ahead of the script – in a way much different from Fight Club, I feel compelled to add.  While Huston’s turn as the mother is obviously the best supporting job, I think that Denny, Victor’s best friend, played by Brad William Henke (I haven’t heard of him either, but he’s apparently in the upcoming Star Trek movie playing some guy named “Uncle Frank,” which makes me twice as excited for the movie just because there’s an Uncle Frank) is pretty close.  He goes from a chronic masturbator with an attitude almost as bad as Victor’s into a genial, peaceful guy that just seems content with who he is and what he does.  It doesn’t seem like an earth-shattering transformation  while it’s going on, but when I thought about the movie after, it really hit me how much he changed and how much for the better.

Sorry for the delay in posting this – again.  It was one of the tabs on my browser, half-written, for days and days.  I think I’m going to do another combo review next – a rap roundup, if you will, of some major hip hop releases of the year, like Lil’ Wayne and T.I. and maybe something else.  Stay tuned.

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